This is a film looking to make its mark by making it clear exactly what it wrong with the modern age of an internet obsessed population

No film released in 2018 has better summed up the state of social politics in America, or worldwide for that matter, than Assassination Nation. The film has an uncanny ability to dissect then enlarge the issues technology and political correctness have brought so keenly into everyday lives, and the added horror and extremism mix in a dystopian sense to the feature’s overarching nature.

Lily (Odessa Young) is a teenager with a huge ego. As her and her friends shirk anyone around them, their lives are quickly turned upside-down as local celebrities’ private information is leaked onto the internet. As the leaks escalate in stature, Lily is incorrectly exposed as the hacker, and wanted by the whole town. Now, alien to everyone, Lily and her friends must work together to last the night and keep themselves alive.

Assassination Nation 2

Assassination Nation absolutely refuses to offer any solutions. This is a film that wants to scrutinise society on the most minute of details, and show how easily the whole construct can fall apart. It’s an incredibly clever anarchic story line that only offers more and more horror, holding back nothing, showing no fear.

Led by the powerful Odessa Young, nothing within the film accepts that there are boundaries to be followed, pushing and triggering anyone and everyone, un-fearful of what the consequences may be. This reckless sense of abandon resonates perfectly with the story line, becoming and outrageously antagonistic film with incredible amounts to say.

Assassination Nation is current, in your face and divisive, but also sits as a brilliant piece of cinema and more importantly, art. It completely understands society, how to portray that society, and most importantly doesn’t care if it disrupts that same society. This is a film looking to make its mark by making it clear exactly what it wrong with the modern age of an internet obsessed population.

5/5

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